Through the hushed air the whitening shower descends,
At first thin wavering; till at last the flakes
Fall broad, and wide, and fast, dimming the day
With a continual flow. The cherished fields
Put on their winter-robe of purest white.
'Tis brightness all; save where the new snow melts
Along the mazy current. Low the woods
Bow their hoar head; and, ere the languid sun
Faint from the west emits his evening ray,
Earth's universal face, deep-hid and chill,
Is one wild dazzling waste, that buries wide
The works of man. Drooping, the laborer-ox
Stands covered o'er with snow, and then demands
The fruit of all his toil. The fowls of heaven,
Tamed by the cruel season, crowd around
The winnowing store, and claim the little boon
Which Providence assigns them. One alone,
The redbreast, sacred to the household gods,
Wisely regardful of the embroiling sky,
In joyless fields and thorny thickets leaves
His shivering mates, and pays to trusted man
His annual visit. Half-afraid, he first
Against the window beats; then, brisk, alights
On the warm hearth; then, hopping o'er the floor,
Eyes all the smiling family askance,
And pecks, and starts, and wonders where he is—
Till, more familiar grown, the table-crumbs
Attract his slender feet.
(Thomson: The Seasons; Winter. 1726.)
Thomson's Seasons was undoubtedly the most influential of the poems of the blank-verse revival of this period. Saintsbury says: "His blank verse in especial cannot receive too much commendation. With that of Milton, and that of the present Poet Laureate [Tennyson], it must rank as one of the chief original models of the metre to be found in English poetry." (Ward's English Poets, vol. iii. p. 169.)
Other influential poems of the same period, written in blank verse, were Glover's Leonidas (1737), Young's Night Thoughts (1742-1744), and Akenside's Pleasures of the Imagination (1744). Much earlier than these had come the curious poem of John Philips on Cider (1708). Philips is praised by Thomson as the successor of Milton in some lines of Autumn:
"Philips, Pomona's bard, the second thou
Who nobly durst, in rhyme-unfetter'd verse
With British freedom sing the British song."
In general, the blank verse of all these poets shows the influence of the couplet and lacks flexibility. Thus Mr. Symonds says: "The use of the couplet had unfitted poets for its composition. Their acquired canons of regularity, when applied to loose and flowing metre, led them astray.... Hence it followed, that when blank verse began again to be written, it found itself very much at the point where it had stood before the appearance of Marlowe. Even Thomson ... wrote stiff and languid blank verse with monosyllabic terminations and monotonous cadences—a pedestrian style." (Blank Verse, pp. 61, 62.)[33]
Here unmolested, through whatever sign
The sun proceeds, I wander; neither mist,
Nor freezing sky nor sultry, checking me,
Nor stranger intermeddling with my joy.
Even in the spring and playtime of the year,
That calls the unwonted villager abroad
With all her little ones, a sportive train,
To gather kingcups in the yellow mead,
And prink their hair with daisies, or to pick
A cheap but wholesome salad from the brook,
These shades are all my own. The timorous hare,
Grown so familiar with her frequent guest,
Scarce shuns me; and the stockdove unalarmed
Sits cooing in the pine-tree, nor suspends
His long love-ditty for my near approach.
Drawn from his refuge in some lonely elm
That age or injury has hollowed deep,
Where on his bed of wool and matted leaves
He has outslept the winter, ventures forth
To frisk awhile, and bask in the warm sun,
The squirrel, flippant, pert, and full of play.
He sees me, and at once, swift as a bird,
Ascends the neighboring beech; there whisks his brush,
And perks his ears, and stamps and scolds aloud,
With all the prettiness of feigned alarm,
And anger insignificantly fierce.
(Cowper: The Task, book VI. ll. 295-320. 1785.)